1. The hidden elusive gates of the disgusting ill noise 1'47”
2. The uneven weird pace of the sickly disturbing groove 10'19”
3. The insane dark matter flow of the filthy viscous river 10'28”
4. The cacophonic mellotrons of the doomed desperate spirits 6'25”
5. The damned mad drummers from the eternal hell 7' 57”
6. The rancid and rotten breathing of the ominous beast 3'42”
All sounds obtained from electronic manipulation of background noise of audio tapes and vinyl records. I play no instruments in this work.
This is my second work in the “Hidden Pattern” series, dedicated to discover sound patterns in recordings apparently without them. In this case I've used as source just tape noise and used vinyl background noise. Previously I did it using a silent recording (Journey into the home of the pataphysical ghosts, Wet Dreams14, 2015). I find the resulting sounds mysterious and hypnotic, but the prospective listener has to bear in mind that the sounds contained in these recordings are JUST NOISE.
Burn into a CD with no gaps between tracks.
Produced by Antoni Robert for Hazard Records, 2017
July 23, 2017 Subject:
ANTONI ROBERT – TAPE NOISE GROOVE (CDR by Hazard Records)
Following “Train Pieces’ (Vital Weekly 1030) here’s a new release by Antoni Robert, who has been playing music since the early 70s. Like with the previous, there is a conceptual angle to it; “electronic manipulation of background noise of audio tapes and vinyl records. I play no instruments in this work”, he says. Hardly something new, but, along with the use of radio waves, one of those easily accessible sounds anyone can use to do his own music, I guess, with or without electronic manipulation. What Robert does here is somewhere in the middle ground of playing vinyl loops and using massive amplified blank tapes, all of which comes to the listener in a very looped version. Very rarely one hears vinyl used and then slowed down to a very complete stand still. But unlike some other people in this direction, Robert is not interested in playing some minimal techno music with a scratched record, but in each of these six pieces (well, maybe not the first short opening piece), the sound is looped and densely structured. This is a kind of ambient music of some forceful nature. There is extended use of delay and reverb going on, making it both ‘easy listening’ (at a somewhat lower volume) and ‘pretty intense’ (when a bit louder). There is quite some minimalist approach to these pieces here, in the pieces respectively but also throughout the six pieces all together. Only the final piece seems to be a bit different, with some added voice material. That makes this an album that is perhaps best regarded as one piece in six parts; perhaps best as a requiem for a dying medium? (You choose if I mean vinyl or tape) (Frans de Waard, Vital Weekly).